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5.451 Ft
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1. | Zingaro
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2. | A Felicidade
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3. | Dindi
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4. | Favela
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5. | Triste
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6. | Corcovado
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7. | Brigas, Nunca Mais
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8. | How Insensitive
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9. | Chega de Saudade
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10. | Luiza
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11. | One Note Samba
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12. | Wave
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13. | Meditation (Meditaçáo)
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14. | The Girl from Ipanema
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Jazz / Cool, Post-Bop, Hard Bop, Mainstream Jazz, Brazilian Jazz
Lee Konitz - Sax (Alto), Performer Peggy Stern - Liner Notes, Synthesizer, Arranger, Performer, Piano Antonio Carlos Jobim Composer Bob Ward Mastering Jimmy Katz Photography Katsuhiko Naito Engineer Luigi Simboli Artwork Paolo Piangiarelli Executive Producer, Liner Notes Sergio Carnevali Artwork
Altoist Lee Konitz and pianist Peggy Stern (who also plays synthesizer on a few of the tracks) sound like they really enjoyed themselves during this set of 14 Antonio Carlos Jobim songs. The emphasis is very much on melodic improvising (one can hear Jobim's themes throughout these performances) but Konitz as usual sounds very much like himself and Stern is consistently inventive both in reharmonizing some of the songs and in her subtle solos. The results are quite delightful and this CD is easily recommended to fans of both bossa nova and Lee Konitz. ~ Scott Yanow, All Music Guide
Lee Konitz
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s Born: Oct 13, 1927 in Chicago, IL Genre: Jazz Styles: Modern Creative, Cool, Post-Bop
One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill's Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis's Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton's Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo. Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the late '70s Konitz led a notable nonet and in 1992 he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee. And in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck to his distinctive alto.Konitz has led consistently stimulating sessions for many labels, including Prestige, Dragon, Pacific Jazz, Vogue, Storyville, Atlantic, Verve, Wave, Milestone, MPS, Polydor, Bellaphon, SteepleChase, Sonet, Groove Merchant, Roulette, Progressive, Choice, IAI, Chiaroscuro, Circle, Black Lion, Soul Note, Storyville, Evidence, and Philogy. ---Scott Yanow, All Music Guide |
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